– How did you approach to electronic music?
René Audiard: Growing up hearing some Tangerine Dream for sure. My older brother Calen led the way in the beginning, as most older siblings do, and was my first introduction to trance. After that I started going off the deep end into progressive, tech house, then minimal and dub. One of the first singles I ever downloaded (as in, separate from a mix CD) was Tilt’s “The World Doesn’t Know,” the Ozgur Can Main Mix. Being in a small city without much opportunity to go out clubbing meant I had to learn most of my new music through the internet. I think there was maybe one store in Boston I knew of where you could preview records before buying them.
A.L.M.A.: Visiting party’s started the interest and love for EDM. Then came the love for the art of dj’ing and after a few years of dj’ing we tried to create our own music.
Tomas Rubeck: I’ve always been fascinated by film music, field recordings and sound design, as well as the history and theory relating to it. I guess it was really a development/evolution from this as to how I ended up where I am, but I wouldn’t always class it as ‘electronic’ to be honest.
– Is the style of the music you play the same as your productions?
René Audiard: Of course I spin, dubby and minimal, some pounding techno etc., but also a lot more diverse stuff than I’m able to make, especially deep house and acid house. Where I came from, parties were a lot looser in terms of styles (official warm-up and closing DJ sets didn’t exist) so I’m used to going all over the place.
A.L.M.A.: We create and play everything we like, ranging between house and techno. With our A.L.M.A. project we aim for techno based grooves with all sorts of influences.
Tomas Rubeck: No not really. My production style never really turns out as ”club orientated” so to speak, apart from the odd exception, so I don’t really play the same in a club. I’ve been currently working on more ”club friendly” edits of some of the more downtempo/experimental tracks in my live set to try and produce a more dynamic performance. It’s a lot of fun, as it’s basically opened the door to a whole new world of ideas for future tracks!
– What are the tools of your essential studio setup?
René Audiard: A Jupiter 8, Prophet V, 303, 808, 909, SH101, Space Echo 201, and the Doepfer modular. Just kidding. I just have a laptop, way too poor for anything else. I use Reason 3 for most drums / synths and Ableton for bigger samples.
A.L.M.A.: A combination of analog hardware/fx and digital tools for sampling and arranging.
Tomas Rubeck: I’m inherently software based, with Ableton Live being my main platform, and never really see it changing. I’ve tried analogue hardware many times, like drum machines and synths, but It just doesn’t feel natural to my style of working, some of my friends are diehard analogue geeks, they call me weird, and I call them weird (laughs), All that matters, is what delivers the results you desire, who cares what made it, i never quite understand why people get so wound up by it all, maybe if they spent as much time making something as they did debating what the best gear is, we’d have a lot more quality music to choose from! I have tonnes of VST instruments, plug ins and little tools. I also record all the time, I’ve got loads of self made samples and audio recordings I’ve accumulated from my travels. I have a couple of nifty field recorder apps on my iPhone which are great for capturing noises on the move! It’s great fun, which is essentially why we do it right?
– Which artists inspired you mostly? Are any of these still contaminating your musical evolution process?
René Audiard: Contaminating, certainly. I don’t think you can listen to amazing producers and musicians without having them inform your own style and direction. Villalobos, Zip, STL, Murcof, Maurizio, Vladislav Delay, Omar-S, Theo Parrish, Carl Craig, Mike Huckaby, Mike Dehnert, Erdal Erzincan and Edward Artemyev to name a few.
A.L.M.A.: The three main inspirators are Moritz von Oswald & Mark Ernestus, Steve O’Sullivan and Jeff Mills.
Tomas Rubeck: There are just too many to mention, I discover new producers all the time when it comes to ‘inspiration’ in the broader sense of the word. A lot of Stenny’s new music is great, I think he’s really on to something very fresh and innovative in terms of sounds. It’s inherently techno, but it is very very different. Andy Stott’s attitude and approach to sound creation and how it is arranged/mixed down etc is something I can strongly relate too. I also really admire Neo-Classical/Experimental artists such as Pleq, His work is beautiful. He has this distinct ability to get under your skin with his music, it is very inspiring. Of course, they all have an impact on my philosophical and often practical approach to making records, but it’ll always be my own interpretation of my own ideas from within.
– Have you got any forthcoming projects you wanna tell us about?
René Audiard: Another EP with The Double R, as well as more things on my labels Supply Records and Blank Slate. Keeping it simple and mostly within the family so far, with a few notable exceptions such as the wonderful folks at Kina (!). Also an upcoming EP or two with a Turkish friend from college, stay tuned for that.
A.L.M.A.: We’re busy on all fronts. We’re all working on solo projects and multiple collabs, latest group effort is ‘Dilated Pupils’, a combination of all artists involved within ESHU Records and Agency. We also working on the latest installment on our label, ESHU006 will be out near the end of the year.
Tomas Rubeck: I always feel awkward ranting about stuff I have coming up. If people hit my page it’s always on there what I’m up to. There are some exciting things in the schedule. But in general, lots more music, carrying on adding material to my live set and building on the gig side of things, which always seems harder to do!
– Two adjectives to describe Kina Music?
René Audiard: Proper, and honest.
A.L.M.A.: Good stuff 😉
Tomas Rubeck: Energetic and Passionate. They have belief in what they do, and it comes through on every platform.
Interviews by Matteo Pitton and Re-UP